ART 4
2-DAY 03
October |
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Born on 03 October 1835: Stanislas~Victor~Édouard Lépine,
French Impressionist
painter who died on 24 September 1892. — Originally self-taught, he became a student of Corot and an admirer of Johan Barthold Jongkind, who influenced him in his choice of ships as subject-matter. He also learnt from Jongkind not only how to paint ships accurately but also how to render the depth of the sky and the clarity of waves, as in Sailing Boats in Caen Harbour. He produced a number of nocturnes of the port of Caen, including Boats on the River, Moonlight and Port of Caen, Moonlight Effect (1859), the latter painting marking his début in 1859 at the Salon in Paris. He specialized in the depiction of the steep banks of the River Seine and the movement of the water, as in La Seine à Bercy (1872). He also executed views of Paris and was particularly successful in reproducing the atmosphere of the city, especially its overcast days with cloudy skies, as in Nuns and Schoolgirls Walking in the Tuileries Gardens, Paris (1883). He also rendered such picturesque scenes in Paris as the old streets of Montmartre where he lived (e.g. Rue Norvins at Montmartre, 1878). In 1874 in Paris he exhibited Banks of the Seine (1869) with the Société Anonyme des Artistes, Peintres, Sculpteurs, Graveurs etc, the first public showing outside the Salon by the Impressionist painters. Although his work can be said to anticipate the Impressionists’ interest in light effects, his brushwork, as well as his depiction of light effects, is much more delicate and subtle than theirs. LINKS La Seine au Confluent de la Marne, Paris (1882, 107x185cm) Le Port de Caen (1859; 664x850pix, 151kb) — Bassin a Caen. Effet de lune (38x53cm) Quais de la Seine, Pont-Marie (1868) — Bras de Seine du côté de Neuilly (1882, 42x55cm, 838x1111pix) — Cour de Ferme en Normandie (1872; 40x36cm; 1081x956pix) — 32 images at Webshots |
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Died on 03 October 1685: Juan
Carreño de Miranda, Spanish painter born in 1614. in Avilés.
En 1623 se traslada a Madrid donde fue discípulo de Pedro de las Cuevas. Carreño was a member of a Spanish noble family, whose studies in the royal collection in Madrid caused him to be influenced by Rubens and Titian. In 1669 he was made a Painter to the King and in 1671 Court Painter. He produced several religious pictures, but was chiefly a portrait painter, adapting the styles of Velázquez and Van Dyck. LINKS King Charles II of Spain (1650, 78x65cm; 3/4 size; or see it the recommended 3/8 size, or 3/16 size) _ In 1669 Carreño was made court painter to King Charles II. He made several portraits of the king. Duke of Pastrana - (217x155cm) _ Carreño painted in Toledo and Madrid. Charles II, successor to Philip IV, viewed him with favor, and in 1669 he was made painter to the King. Although his religious paintings are of unusual quality, his main interest was painting portraits, the finest being that of the Duke Pastrana, now in the Prado. This mature portrait by Carreño, the impact of the dark and imposing, pyramidal figure of the Duke is counterbalanced by very delicate and melancholic coloring. Carreño's work here recalls the portraiture of Van Dyck in England. Portrait of Don Juan José de Austria (?) (1641, 78x61cm) _ This portrait shows the influence of both Velázquez and Van Dyck. The identification of the sitter is doubtful. Earlier the painting was attributed to Juan Bautista del Mazo (1612~1667). Eugenia Martinez Vallejo, apodada La Monstrua (165x107cm) La Monstrua Desnuda (165x108cm) |
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Born on 03 October 1646: Joseph Parrocel
“des Batailles” ou “le Vieux”,
French painter who died on 01 March 1704. — He belonged to one of the most numerous French artistic dynasties, which from the 16th century produced 14 painters over 6 generations. Starting with him, they were most prominent in the late 17th century and the 18th. He and his son Charles Parrocel [06 May 1688 – 24 May 1752] were notable painters of battles and hunts. His nephew Pierre Parrocel [16 Mar 1670 – 26 Aug 1739] was a prolific painter of religious works, as was Pierre's nephew and student Etienne Parrocel “le Romain” [08 Jan 1696 – 13 Jan 1775]. | — Joseph Parrocel was taught by his father Barthélemy Parrocel [1595–1660} and then by his brother Louis Parrocel [1634–1694]. He went to Paris for four years to perfect his work and then, about 1667, to Rome, where he became the student of the battle painter Jacques Courtois and was influenced by Salvator Rosa. Parrocel remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agréé) by the Académie Royale de Peinture et de Sculpture in February 1676 and received (reçu) as a full member in November 1676, presenting Le Siège de Maastricht. His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685–1688 he made 11 paintings for the Salle du Grand Couvert at the château of Versailles; in 1699 he painted The Crossing of the Rhine for the château of Marly, Yvelines, and in 1700 he painted The Fair at Bezons, anticipating the fêtes galantes of Antoine Watteau. Parrocel was also the author of a number of hunting scenes. His most important religious paintings were The May of Notre-Dame de Paris (1694), Saint John the Baptist Preaching and Saint Augustin Secourant les Malades (1703). He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of painting and used thick impasto and intense colors. He was also a prolific engraver, producing around 100 plates, among them 25 Mysteries from the Life of Jesus Christ and 40 Miracles from the Life of Our Lord Jesus Christ. Others were for the Missale parisiense of 1685, and some depicted military subjects. — Joseph Parrocel’s students included his son Charles, his nephew Pierre, another nephew, Ignace-Jacques Parrocel [1667–1722], and the landscape painter François Sylvestre. — LINKS — Passage du Rhin par l'armée de Louis XIV, à Tolhuis (1699, 234x164cm; 1440x1260pix— or adjust the size to your liking — 186kb either way) _ Peint pour le château de Marly, ce tableau relate l'épisode militaire du 12 juin 1672. Plus pittoresque et plus tumultueuse que Passage du Rhin par l'Armée Française à Lobith de Van der Meulen [1632-1690] sur le même sujet, l'oeuvre est représentative des scènes de bataille de Parrocel influencées par Jacques Courtois et Salvator Rosa. — Bataille pour la salle des gardes du roi (1685; 748x936pix, 89kb) — Un Jeu de Dés (962x728pix, 62kb) |
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Died on 03 October 1860: Rembrandt
Peale, US painter and writer, born on 22 February
1778. He dies the day before the 191th anniversary of the death of Rembrandt
van Rijn, after whom he was named by his father Charles
Willson Peale [15 April 1741 22 February 1827], who died on the
49th birthday of Rembrandt Peale. Brother of Raphaelle Peale [17 Feb 1774 25 Mar 1825], Rubens Peale [1784-1864], Sarah Miriam Peale [1800-1885], Titian Peale [1799-1881], nephew of James Peale [1749~1831] Rembrandt Peale, member of the famous Peale family of artists, painted hundreds of portraits. [portrait of George Washington >] Rembrandt Peale, born in Bucks County, Pennsylvania, was the son of Philadelphia artist and museum proprietor Charles Willson Peale, and his first wife Rachel Brewer, and the nephew of James Peale. He and his siblings, Rubens, Raphaelle (A Dessert), Titian Ramsay (Buffalo Hunt on the Platte), Sophonisba Angusciola, and Angelica Kauffmann (named after Swiss Neoclassical Painter Angelica Kauffmann [1741-1807] ), were born during the most productive years of their father's painting career and were named after European artists. Rembrandt Peale was a precocious artist, painting his first work, a self-portrait, at the age of thirteen. He continued to work as a portrait and history painter for almost seventy years, producing more than a thousand works. His most original works date from the first three decades of the nineteenth century. Although Philadelphia was his home town, Rembrandt worked at various times in most of the other major eastern United States cities, including Boston, New York, Baltimore, Washington and Charleston. As a young artist he benefited from his father's friendships and patronage in Federal America. He studied the work of contemporary painters, including Gilbert Stuart and Robert Edge Pine, as well as paintings by European artists that could be found in private collections. His father made it possible for him to paint life portraits of George Washington (1795) and Thomas Jefferson (1800, 1805). Charles Willson's ambitions also made him a museum director at times. In 1795-1798, for example, he went to Charleston, Baltimore, and New York City to paint portraits and exhibit sixty copies of his father's museum portraits, painted by himself and Raphaelle. In Baltimore in 1796-98 he managed the first Peale family museum outside of Philadelphia. In 1798-99 he worked as an itinerant artist in Maryland. In 1801 he assisted his father in unearthing the bones of prehistoric mammals in Newburgh, New York, and the following year he and Rubens took the skeleton assembled from these remains to England for exhibition. From 1813 to 1822 he established and managed the Peale Museum in Baltimore. More than was true for his father, Rembrandt benefitted as an artist from extended periods spent in European capitals. He studied briefly at the Royal Academy while in London in 1802-1803. He traveled to France in 1808, and again in 1809-1810, painting portraits of French scientists, artists and writers in Paris for his father's collection of portraits. His third European stay was in Italy, in 1828-1830, where he copied old master paintings for American collectors. On his last European trip, in 1832-1833, he returned to England. As a result, especially of the early trips, Rembrandt's style of painting changed, when he was still a young artist, from the tight, closely observed eighteenth century manner of his father, to a style strongly influenced by French neoclassicism and the work of Jacques-Louis David. His first attempt at a grand manner history painting was The Roman Daughter (1811). Even more ambitious was his enormous, multifigured painting of Court of Death (1820), whose theme of individual choice in creating a happy and rational life expressed the tenets of the new, controversial religion of Unitarianism. Next he turned his attention to creating a heroic portrait of Washington. His result was the painting known from its inscription as the "Patriae Pater" portrait Washington as Father of his Country (1824). Later, in the 1840s, Peale returned to painting replicas of his portrait of Washington, capitalizing on the fact that he was the only living artist who had painted the first President's portrait at life sittings. While Rembrandt's ambitions and opportunities were very much derived from his father's energy and drive, the results and the context of his work was of his own generation. After his trips to England and Paris, Charles Willson Peale turned to him to learn new techniques for painting. His creation of an idealized portrait of Washington was a response to the nationalistic demands of the 1820s, marking the end of the Revolutionary era. His subject pictures of the 1830s and 1840s reflected the sentiments of the Victorian era. Rembrandt Peale was the husband of Harriet Cany Peale. Peale also promoted his theories of art and its role in a democracy by publishing brochures, articles and books. Some, like Description of the Court of Death; an Original Painting by Rembrandt Peale (1820), were written to accompany exhibitions of his work, held in several American cities. Others, including Graphics; A Manual of Drawing and Writing for the Use of Schools and Families (1835) and Introduction to Notes of the Painting Room (1852), were intended as drawing and painting manuals for mechanics and art students. He also wrote reminiscences of his life and family, poems, and accounts of his travels. From 1855 to 1857 he offered a personal history of US art in his Reminiscences and Notes and Queries published in The Crayon, a popular art periodical. He died in Philadelphia on 03 October 1860, the day before the 191th anniversary of the death of Rembrandt van Rijn, after whom he was named. LINKS Rubens Peale with a Geranium _ Rubens Peale with Geranium, (1801) Portrait of Rosalba Peale (1820) Michael Angelo and Emma Clara Peale (1826) Falls of Niagara Viewed from the American Side (1831) George Washington (1814) Porthole Portrait of George Washington (1795, 90x74cm) _ In 1823 (1853?) Rembrandt Peale announced that he, one of the few living artists who had painted Washington from life, would create a portrait of the subject that would surpass all others in its authenticity and expression. The result was what has become known as the "porthole" Washington, from the trompe-l'oeil stone frame that surrounds the bust. Peale launched a publicity campaign that evidently worked, for it is estimated that between seventy-five and eighty replicas were produced. _ Although known as a member of one of the US's most famous artistic families, only recently has Rembrandt Peale emerged from the group as an individual who virtually embodied the industrious, experimental, yet above all fickle age of capitalism in which he lived. Ever seeking imaginative means by which to weave the production and appreciation of art into the fabric of the US's democratic enterprise-working in many of America's growing cities and founding a museum to foster national taste-Rembrandt Peale forged a career for himself characterized as much by failure as success. But, whereas such fits and starts were once considered reason to overlook him, the persistence with which he met them can be considered as the quality that makes him a quintessentially US painter. Raised in the long shadows of his accomplished artist-father, Charles Willson Peale, and the heroes and statesmen whose portraits lined the walls of his father's gallery, Rembrandt was, in a sense, surrounded by the achievements of past masters. The challenge to distinguish himself as an artist was compounded by a lack of public interest in the arts, his poor business skills, and his desire to depart from the well-trodden path of portrait painting. However, it was as a portraitist that Peale was able to support his large family and combine his high-minded, nationalist ideals with an art that appealed to a large audience. Having first painted George Washington in 1795, and having won acclaim for his Patriae Pater (1824), Rembrandt stated in the 1850s that his true calling was "to multiply the Countenance of Washington.113 By his death in 1860 he had done so no less than seventy-nine times, systematically producing simplified versions of the Patriae Pater that became known as the porthole portraits, of which the Butler Institute's is one. Possibly seeking to surpass his father in painting the US's great figures, Rembrandt sought to capture the visage of the founding father both for the edification of the public and as the crowning achievement of his career. He perceived himself singularly qualified to paint what he called the "standard likeness" of Washington, writing that, 'Among the few persons now living, who can speak of their own impressions . . . concerning the personal appearance of Washington, I may be supposed to have some claim on the confidence of the rising generation-educated to venerate the memory of him, who will always be 'first in the hearts of his countrymen!" Emphasizing the fact that he had painted Washington from life, Rembrandt supported his claim by soliciting testimonials from other men who knew Washington personally and could confirm the accuracy of his portrait. He sought to distinguish himself from other artists who had painted the first president from life, and at last to match the accomplishments of his father, whom he acknowledged as having painted "the first portrait of Washington in 1772. Rembrandt's insistence on the importance of his direct contact with Washington is ironic. With his subject long dead, his Patriae Pater and the subsequent porthole portraits were actually composites of his 1795 portrait and others he had admired, such as the famous bust by the French sculptor Jean-Antoine Houdon. Nevertheless, his enterprise was a success, coming at a time of renewed interest in Washington as a national hero. The importance of Rembrandt Peale's icon-making to the evolution of American culture has been confirmed most recently in the potency of 1960s Pop Art images, and by that movement's revelation of our society's ongoing interest in icon creation. Gilbert Stuart (1805, 60x50cm) _ Charles Willson Peale accompanied his son and protégé, Rembrandt Peale, to Washington, DC, in 1805 to assist him in obtaining important portrait commissions that would establish him as a painter. It was at this time, for example, that the younger Peale painted the Society's portrait of Thomas Jefferson. This portrait of fellow-artist Gilbert Stuart was also painted in Washington at this time. Thomas Jefferson (1805, 71x60cm) _ Rembrandt Peale first painted Jefferson in 1800 (oil at Peabody Insitute, Baltimore). In 1805 he and his father, Charles Willson Peale, went ot Washington where Rembrandt painted portraits of national celebrities to hang in their Philadelphia museum. When the Peale Museum was dispersed in 1854 this portrait was purchased by the subject's namesake, Thomas Jefferson Bryan, and subsequently given by him to The New-York Historical Society. |
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Born on 03 October 1867: Pierre
Bonnard, French Nabi
painter, book illustrator, lithographer, and etcher, and a leader of the
French "Intimiste" school of painting, who died on 23 January 1947.
[il faisait du bon art] [du beau, du bon, du Bonnart] [Aucun rapport avec
le roman d'Anatole
France Le
Crime de Sylvestre Bonnard paru en 1881?] Les Nabis (Hebrew "Nebiim", "prophets.") were a Parisian group of Post-Impressionist artists and illustrators who became very influential in the field of graphic art. Their emphasis on design was shared by the parallel Art Nouveau movement. Both groups also had close ties to the Symbolists. The core of Les Nabis was Pierre Bonnard, Maurice Denis, Ker Xavier Roussel, Félix Vallotton, and Édouard Vuillard. Bonnard began law studies about 1885, but abandoned them in 1888 to work for a year at the École des Beaux-Arts, Paris, and at the Académie Julian, where he met Jean Édouard Vuillard (a lifelong friend), Maurice Denis, Paul Ranson, Félix Vallotton, and Paul Sérusier, all of whom formed the "Nabis" group (Hebrew "Nebiim" = "prophets") In 1889, after he had sold a champagne poster design, his father allowed him to begin serious training. Japanese art and the precepts of Paul Gauguin then pre-occupied him; his work was characterized by flat, black-outlined areas of warm, decorative color and simplified forms in the current sinuous Art-Nouveau style. Humour, allied with keen observation of Parisian life, distinguished his exhibits at the Salon des Independents (from 1891) and his illustrations to La Revue Blanche (from 1893). In 1900 Bonnard's style began to change. His palette became livelier, his brushwork more loose and transparent. He turned more often to landscape and spent long summers in the Seine Valley and southern France. His compositions, deceptively simple in appearance, often embody tricks of perspective the complexity of which he increased by introducing mirrors. For thirty years Bonnard lived with Maria Boursin (known as "Marthe de Méligny") before marrying her in 1925, and she appears in many of his pictures. French painter and printmaker, member of the group of artists called the Nabis and afterward a leader of the Intimists; he is generally regarded as one of the greatest colorists of modern art. His characteristically intimate, sunlit domestic interiors and still lifes include The Dining Room (1913) and Bowl of Fruit (1933). For his bachelor's degree he studied classics and later law at the insistence of his father, and for a short time in 1888 he worked in a government office. In 1890, after a year's military service, he shared a studio in Montmartre with Denis and Vuillard. Later they were joined by the theatrical producer Aurélien Lugné-Poë, with whom Bonnard collaborated on productions for the Théâtre de l'Oeuvre, in Paris. He was influenced by Japanese prints,. During the 1890s Bonnard became one of the leading members of the Nabis, a group of artists who specialized in painting intimate domestic scenes as well as decorative curvilinear compositions akin to those produced by painters of the contemporary Art Nouveau movement. LINKS Self-Portrait in the Mirror (1939, 56x69cm) Self~Portrait (1945) Paysage (49x65cm; half size) Frontispiece pour La Lithographie en Couleurs: un homme et une femme dans une loge de théâtre (1898) une page de La Lithographie en couleurs Coin de rue vue d'en haut (1899, 37x21cm; full size) Rue le soir sous la pluie (1899) Dans la rue (1900) Femme assise dans sa bagnoire (1942) Family in the Garden (1901) The Letter (1906) The Green Shirt (1919) The Bernheim Brothers (1920) Terrace at Vernon Le Cannet (1926) Le Cannet (1927) Woman and Dog (1922) The Sewing Lesson (1926) Southern France (1930) Farm (1940) The Palm La Loge Un village en ruines près du Ham (1917, 63x85cm) _ Bonnard was one of the group of painters who were assigned at the end of 1916 to go and paint the war. He is also the one who seemed the least prepared for such a task, not that he was indifferent to the war, but because he found his inspiration in an altogether different field, painting female nudes and interior scenes. He did his duty with a single unfinished painting. French troops are waiting among the charred ruins. An old man crouching symbolizes despondency and destitution. In the background, there is a Red Cross van — a sign of more disasters. In the state in which the artist left it — incomplete, blurred in places — this work reveals an even more poignant sense of the desolation that rendered any kind of effort useless. We may suppose that, in Bonnard's eyes, a 'finished' painting would have been misplaced at such moments, with art itself apparently having lost its purpose. Almond Tree in Bloom (1945) This, Bonnard's last work, belongs to yet another world. A shower of white blobs painted with the tip of the brush settles over a few dark brown strokes that define the tree shape. The ground is done in juxtaposed touches of color. Too ill to hold the brush, Bonnard begged his nephew Charles Terrasse to change a green patch to orange. It is one of the most intensely poetic pictures in this century. The 80-year-old creator had just managed to complete his hymn to joy, discreetly sung in deep solitude. Women With Dog (1891, 41x32cm) Like many of Bonnard’s paintings from this period, Women with Dog evokes a world of innocence and simplicity, showing children and animals together in a sort of golden age. In this picture the two girls and a dog concentrate on what appears to be a bunch of chrysanthemums. The interest in decorative pattern and the tilted-up perspective show the influence of Japanese prints, which were especially popular in Paris at the turn of the century. |
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Died on 03 October 1884: Hans
Makart, Austrian Academic
painter born on 29 May 1840. [Did Makart make artwork work?] — He studied (1860–1865) at the Akademie in Munich under the history painter Karl Theodor von Piloty whose influence is evident in Makart’s Death of Pappenheim (1861). Makart visited London and Paris in 1862 and Rome in 1863. The Papal Election (1865) reveals Makart’s skill in the bold use of color to convey drama as well as his virtuoso draftsmanship. Two decorative triptychs, Modern Cupids (1868), and The Plague in Florence (1868), brought Makart both fame and disapproval (mostly because they lacked a literary original) when exhibited in Munich in 1868. His plan for the second work shows a setting of somber magnificence. — Ottó Koroknyai ani Hanus Schwaiger were students of Makart. — Born in the former residence of the prince-archbishops of Salzburg as the son of an attendant at the Mirabell Palace, Makart received his initial instruction in painting in 1850/51 from Johann Fischbach (1797- 1871). After studies under Karl Theodor von Piloty (1826- 1886) in Munich from 1861 to 1865, and time spent in England, France and Italy, he was called to Vienna in 1869, where a home and a studio were made available to him at government expense. There he shaped Viennese aestheticism like no artist before or after him. The "Makart style" determined the culture of an entire era. Makart attracted the public through the sensuous appeal of his large-scale, theatrical productions of historicising motifs painted in brilliant colors. He was deeply interested in the interaction of all the visual arts and thus in the implementation of the idea of the "total work of art'" which dominated discussions on the arts in the 19th century. This was the ideal which he realised in magnificent festivities which he organised and centered around himself. The culmination of these was the pageant of the City of Vienna organised to celebrate the silver wedding of the imperial couple in 1879. With his sketchy, fleeting mode of painting, Makart, whose artistic successor is said to be Gustav Klimt (1862- 1918), exerted a seminal influence on the development of painting after 1900. — Son of a chamberlain at Mirabell castle. After a short study at the Academy in Vienna he was educated by Karl Theodor von Piloty in Munich (1860-1865) and travelled to London, Paris and Rome to study. He returned to Vienna after the prince Von Hohenlohe provided him with an old foundy at the Gusshausstrasse 25 to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a 'wonder of decoritive beauty, a sublime lumber-room'. Makart became famous for his richly colored history paintings and enjoyed his finest hour in 1879 with his painting of the procession in honour of the silver anniversary of the marriage of emperor Francis Joseph and his wife Elisabeth (better known as Sisi). In the same year he became a Professor at the Academy. Makart also designed furniture and interiors. In 1882 emperor Francis Joseph orderded to build the Villa Hermes at Lainz (near Vienna) for his empress and the bedroom decoration should be inspired on Shakespeare's Midsummernight's Dream. Makart designed a fascinating dreamworld that still exists at the Villa Hermes as a large painting (1882). Unfortunately his design was never executed after his early death in 1884. His collection of antics and art consisted of 1083 pieces and was put up for auction by art-dealer H.O. Miethke. — photo of Makart LINKS — The Dream after the Ball (1887, 159x95cm) — Portrait of a Lady with Red Plumed Hat (1873, 151x100cm) — Abundantia: The Gifts of the Sea (1870; 105kb) — Abundantia: The Gifts of the Earth (1870; 105kb) — Portrait of a Lady (122kb) (without a red plume on her hat) — Bildnis seiner ersten Frau Amalie (1871, 76x58cm; 595x450cm, 56kb) _ The daughter of a Munich butcher, she had risen to the top echelons of society, and her challenging look as well as her posture signal self-confidence. This portrait of his first wife Amalie Roithmayr, which was painted in about 1871, two years before her death, belongs to a small group of paintings which the artist did not intend for public viewing. Its lively expressiveness evokes the admiration of the beholder. Its special appeal derives from the combination of two different styles of painting and from its "nonfinito" character, as well as from the abruptly changing pictorial effects. The flesh tints painted wet-into-wet contrast effectively with the sketchy impasto brushwork on the dress and collar, and the fleeting suggestion of the sitter's hands. This portrait remained in the artist's studio to his death. Amalie was frequently used as a model for Makart's formal paintings. In the monumental work Venice Pays Homage to Caterina Cornaro, which was formally presented at the opening of the Vienna World Exhibition on 01 May 1879, Caterina Cornaro bears the features of the artist's wife. A portrait dating from 1867 shows Amalie Makart at the piano. — Charlotte Wolter as Messalina (1875; 494x798yix, 75kb)._ Charlotte Wolter [01 Mar 1834 — 14 Jun 1897] was born in Cologne and started her acting career at Budapest in 1857. From 1859 to 1861 she worked for the Victoria Theatre in Berlin. In 1861 she left for the Thalia Theatre in Hamburg and in 1862 she was contracted by Heinrich Laube, director of the Burg Theatre in Vienna, where she was engaged until her death. She played well known parts like Lady MacBeth, but also starred in Grillparzer's plays, like "Hero", "Sappho" and "Medea". She also managed to turn Wilbrandt's "Arria und Messalina" into a succes thanks to her powerful portrayal of Messalina. Her outcry during dramatic moments became famous as the "Wolter-Schrei". In 1876 she married count Charles O'Sullivan de Grass [–1888]. |
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Baptized as an infant on 03 October 1644:
Adriaen Frans Boudewijns, (or Boudewyns,
Baudewyns, Baudoran, Bauduins), Brussels Flemish painter, draftsman, and
engraver, who died in 1711. — He was the son of Nicolas Boudewijns and Françoise Jonquin. On 05 October 1664 he married Louise de Ceul, and on 22 November 1665 he became a master in the Brussels Guild of Saint Luke, after having been registered as a student of Ignatius van der Stock (fl 1660) in the same year. By 1669 he had fled to Paris, where he met fellow Flemings, Pieter Boel, Abraham Genoels, Adam Frans van der Meulen, and Jan van Hughtenburgh [1647–1733], and where he was mainly active as an engraver. He engraved van der Meulen’s Battles of Louis XIV and numerous works by Genoels, van Hughtenburgh, and by himself. These prints combine bold execution with careful attention to detail. In 1669–1670 he was sent to the southern Netherlands with Genoels and van Hughtenburgh to draw three views of the château of Mariemont as tapestry designs for the Gobelins. In the Gobelins accounts there is evidence that the three artists were also paid for a series of tapestry designs depicting The Months of the Year. On 12 January 1670 his second marriage took place, to Barbara van der Meulen, Frans’s sister. After her death in 1674, he left Paris and returned to Brussels, where he is first mentioned in 1677. In 1682 he accepted Andries Meulebeeck and Mattijs Schoevaerdts as students, and in 1694 his cousin Adriaen Boudewijns [1673–] was apprenticed to him. LINKS — L'Oiseau de Bonne [sic] Augure (etching, 27x36cm; 3/4 size) _ De ce petit Oiseau l'innocent badinage, / Les accents amoureux et le tendre ramage, / Vont insensiblement, Iris, t'accoutumer / Aux gentilles façons, au séduisant langage / Du jeune et beau Tirsis, que te craignois [sic] d'aimer: / L'Amour pour prendre un cœur, sçait [sic] tout mettre en usage. — Vue de l'Armée du Roy campée devant Douay, du costé de la porte de Nostre Dame (en 1667) (1685) — Port de Mer (40x54cm) — Italian Landscape I (63x51cm) — Italian Landscape II (63x51cm) |